Adalardo Nunciato Santiago - Psychorealism

In an attempt to establish parameters on what I call psychorealismus I have to try a brief review on art. I may possibly make an analogy to better explain what is my conceptions about this matter.

Some may disagree but in my opinion the primary foundation of art lies in the ground of creation.

First there is the idea of creation and secondly comes the “how to do it”, in order to give shape to our mental conceptions.

ART, as a process, has been divided throughout history as we can easily divide one cake, in various parts. We made many divisions and now comes the moment that seems impossible to cut the “cake” anymore. The result of this division, I believe, brought some chaos to the world of art.

I notice that now we got stuck in the world of technic or in the world of the “how to do? ” (technology) instead of running on the ground of the “what to do?” (what to create?). In accordance with this situation I affirm that psychorealismus was born based on the need to rethink the creative area of art and even more, accordingly to psychorealismus the possibilities on creativity is endless. Infinite because every human being has their own system of values, each perceives reality from a different angle and following this line I dare to say that art can still be divided into innumerable pieces or perhaps no longer be divided and turn to be just a simple process where things would act as a whole.

A young artist does not need to worry about taking a position established on the past. He has no need to belong to the schools of the past but rather to look within himself and get what he wants and needs to create. Sometimes I listen people saying that art is in decline and I affirm that art is still alive and has all the necessary weapons so survive.

If, we see today some signs of decline we have to look for reasons outside art, probably in another ground of human activity (philosophy, psychology, etc).

Finally, on my purpose to establish parameters in this theory (psychorealismus) I could say:

- It is a movement focused mainly on the aspects of creation on art;

- It is a movement that supports the need for the closeness between the art world and various segments of human knowledge, because one can understand that it is quite difficult to create art works without references among other sciences and human activities;

- on the ground of art education it defends the necessity of emphasis on the possibilities and iniciatives on creation more than or equally on the iniciative of technics and performance;

- being a movement based mainly on creativity, supports the idea of a constant evolution on the creative act since the artist, on his physical, psychological and spiritual aspects is essentially metamorphic. Accepting this statement as true I can affirm that the act of creation based on one single and repetitive tone would drive art into decline.

- In a normal way and still on the principles of psychorealism, the artist, in his creation act, jumps into a paradoxal situation. He is connected to the past and makes his works of art in accordance to many principles already known but, at the same time he looks forward to the future, creating condictions that led him to “destroy” his works and, over the debris, make what he really wants to do. In my personal experiences I always notice that I start to “destroy” a painting when I consider it ready.

- This act, I realized a bit later, is the subconsciously necessity to search for the real true that each of us, artists, have in the deep inside of our psyche and soul. It is the necessity to deny the past and an attempt to jump somewhere in the future.

- The point when I start destroying my works is a crucial moment because in this exact time borns what I really want to create. In synthesis the act of creation starts exactly with the act of destruction. Inside our psyche lies a large number of possibilities, information, and when we destroy our work we are destroying together a large number of conditions imposed to us on the past and many times we open a large avenue of possibilities in front of us. We have many things “sleeping” inside our memory. Things that we consider forgotten but when we jump in a process of creation, they will sure come to light, interpreted in various ways.

- On Psychorealismus, artistic movement based mainly on the aspect of creation, artists move their hands in an inconscious way, driving the colours, traces and shapes in a direction that looks far from evident and it often happens that works of art under this principle could look a bit “strange” to the eyes of one spectator. Public probably could not, at once, at a first sight, understand such works but they will surely feel them and from this feelings many interpretations would appear. It happens that the reality of the artist is never the reality of the public but anyway, the work will give chances of interpretations, many of them.

- Psychorealistic paintings are not considered realistic, not surrealistic ones and on the same way, even using symbols one could not say that they are symbolists, based on the fact that a symbol can have disctint meanings to the artist and different spectators.

- Could psichorealist painting point as surrealists but we have to remember that , even if one artist decipt something less evident, it can be perfectly understood and interpreted, probably in many other forms, something that will not transcend a face of one reality.

- Psychorealismus goes beyond what is understood as pure abstraction and take abstraction a stone step to its future creative achievements;

- Psychorealismus, being centered mainly on the process of creation, contemplates the possibility to a jump into the so called “five dimensions” (explained here as a spot where influences of the cartesian dimensions and time would be less relevant over the creation act) and to avoid the restrictions that cartesians positions use to produce and influence in the creative life.

- Then, we can see works that scapes from the normal connections of space and time, creating in the works some mystical or magic atmosphere.

- Under psychorealismus ideas, an artist, on the time of creation are not just making a piece art but is also projecting and developing his knowledges and improving his psychological and spiritual conditions. The more he is acquainted to other sciences, meanly humanities, and obviously and other branches of human knowledge, the more he has chances to create.

- Finally, as a movement mainly driven by the necessity of development of the creative area of art, psychorealismus understand that a new era must be born where artists could get free from the tendencies of the past, would be free from labels and lot of formal concepts that works like a prison that normally constrain individual initiative.

- We use to say that world are in a time of consumerism and even on art this style of life has its reflections. To me, particularly, consumerism, in many aspects, was not benefic and even in a number of cases has contribute to impoverish art. Quantity and not quality start to be preponderant.

- Understanding in an orthodoxal way that art as a process of communication, psychorealism states that this process must be closed into three main important points : art work – artist – public. Once we think that this points has equal values inside the process, art tend to be driven in the right way.Painter will see his efforts recognized, his artwork will have necessary considerations and public will have a chance to be part of the process. As painter I use to respect the public. I use to give them a chance to understand my art. I use to give the public a chance to discuss with me what I have done and not just putting colours and traces in white space and say: “I don’t mind if you don’t understand”. Along my contacts with the public I got to the understand that art has to be still recognized as a process of communications otherwise it tends to fail as initiative.

- The way of thinking under the principles of psychorealismus open a very large door that leds to a very large area where artists would find endless possibilities to their works, just because they would feel free to decide. As I mentioned on the beginning of the essay, art, as a cake, was cutted in many pieces to which one we gave a name (cubism, realism, etc), We sliced a process, we sliced even the pieces and the idea of art became almost senseless, Psychorealismus tries, under the stress on the area of creativity open chances to the future, to open the idea of individual iniciative and demassification on art.

Events to the exhibition

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Exhibition

Cybèle Varela: Tropicalismo Remixed is the first retrospective in Europe to be devoted to Brazilian artist Cybèle Varela (b. 1943, Petrópolis), one of the key figures of the Brazilian Pop Art and Tropicalismo movements.

FIFO STRICKER DANIEL OPPLIGER STEFAN HOFMANN DENIS FELIZ
The obvious way of tackling a problem very seldom turns out to have been the right way. It is true that the human mind does respond to facts and figures, but it needs more than bald statements to stimulate the imagination and to generate an emotional response.

The brazil-swiss artist Orlando Geremia Schüpbach stops at Brasilea Foundation, to transform an entire floor into an authentic favela. It fits perfectly into the concept of the young institution in Basel's port.

For the first time the Brasilea Foundation will show a retrospective of the very well known brazilian artist Carlos Bracher.
After exhibitions in Moscow, Bruges, Luxembourg, Düsseldorf and Frankfurt it's at the same time the very first one in the countrey of his ancestors.

The Brasilea Foundation has the pleasure of inviting you and your friends to the opening of the exhibition on Thursday, January 17, 2013 at 18 pm, Caipirinha and brazilian snacks!
Manfredo de Souzanetto is present.

Anja Ganster - Deslocamento
The Brasilea Foundation has the pleasure of inviting you and your friends to the opening of the exhibition on Thursday, April 11, 2013 at 18:45 pm, Caipirinha and brazilian snacks!
Anja Ganster is present.

The concept of the presented exhibition Brazilian coevals is based on a contrasting juxtaposition of two art collections. Firstly, the original one, which was purchased by the founder Walter Wüthrich and contains a selection of his personal collectibles as in particular the paintings of Franz Josef Widmar. Secondly, a compilation of contemporary art, that could be acquired within the last decade.

From 21 January until 3 March, the Brasilea Foundation will be presenting works by the Brazilian artist Claudia Jaguaribe. Born in Rio de Janeiro and resident in São Paulo since the 1990s, her works have been shaped by the influences of the urban metropolises on the rural environment. Heavily influenced by the current socio-political issues of our era, the dichotomy between urbanity and nature is reflected in her works.

The exhibition "Bale brut et les Jeux Olympiques" is a joint project of the Brasilea Foundation and the Creative Workshop Bürgerspital Basel which takes place on the occasion of the 2016 Olympic Games in Rio de Janeiro.
Artists from the Creative Workshop in Basel will present drawings, paintings, objects and sculptures that have emerged from their month-long intensive focus on Brazil.
The supervised work in the Creative Workshop offers artists the opportunity to develop their artistic language continuously and enables them to realize their potentials freely and without interference according to their individual talents.
Their genuine creations give an imaginative impulse in the context of contemporary art.

We are delighted to inform you about the first traveling exhibition of Brasilea.
The exhibition IMAGO by Boris Kossoy is shown from 12 to 27.05.2016 in the Palazzo Pamphili. Gallery Candido Portinari | Piazza Navona 10 | Rome.

This exhibition of Saint Clair Cemin offers a panorama of works, original and multiple sculptures from 1995 to 2012 as well as some drawings that will allow the public to travel with this limitless artist.

On 22 September 2016, the Brasilea Foundation opens the exhibition of the Brazilian artist "Armarinhos Teixeira" who was born and raised in São Paulo. His art is deeply rooted and characterized by this huge metropolis; He is a true child of his everyday surroundings amid the construction industry and he uses raw materials from industrial production, such as nylon, leather cords, steel cords and polyester.

The Brasilea Foundation exhibits works by the Brazilian artist Christina Oiticica from 26 January to 16 March 2017. Christina Oiticica is known worldwide for her eco art works. Canvases painted with acrylic paints find their completion not until they have been exposed to nature. Most of the works remain left to natural forces for a specific while, often dug in and dug out by the artist herself with bare hands. The result is always a surprise. To take the work back from nature again is always a happening and associated with great emotions for Christina Oiticica.

Cybèle Varela: Tropicalismo Remixed is the first retrospective in Europe to be devoted to Brazilian artist Cybèle Varela (b. 1943, Petrópolis), one of the key figures of the Brazilian Pop Art and Tropicalismo movements.